Music Theater Works gets back into the groove with “Mamma Mia!”
When instability seems to be the only constant, one can’t help but long for days gone by dancing alone in the bedroom mirror before taxes and global trade were factors in daily conscious thought. While abandoning responsibility is never a solution for real-world problems, it's only human to need a place to lay back and let hair loose. In their new home at the North Shore Center for the Performing Arts in Skokie, Music Theater Works’ production of Mamma Mia! aims to be a teenage bedroom slumber party karaoke session in the face of internationally impending cynicism and malaise.
Mamma Mia! is a jukebox musical conceived by Judy Cramer with a book by Catherine Johnson featuring the beloved music of ABBA, whose music and lyrics were written by Benny Andersson and Björn Ulvaeus. A synopsis of the plot may be found here.
A love letter to those we “thank for the music,” Mamma Mia! is carried by its nostalgic tunes, as is clearly evidenced by the hokey, nigh-incoherent plot. Dated even for the time of its Broadway debut in 2001, this show’s dedication to tired gender norms, patriarchal clichés, and often tasteless humor (an Oepidal joke comes to mind) make it seemingly irrelevant to an industry seeking a more progressive and inclusive social narrative moving forward. However, in spite of having the subtlety of a hippopotamus on roller blades,
Mamma Mia! does elicit an irresistible, toe-tapping familiarity in its songstack and dance numbers, providing a surefire distraction from much more complicated and challenging specters outside of the theater.
The challenge presented by such a piece is to ride the line between fun disco frivolity, and a sweet (if trite) love story, maintaining attention in and outside of the bell-bottomed glitz and glam. Director Justin Brill rises to this challenge with an effective, tried and true approach to the material laid out by Johnson, Andersson, and Ulvaeus; ultimately,
Mamma Mia! is not a musical with invention in mind, nor does the wheel need reinvention. The safety, security, and familiarity of this jukebox musical are the aspects that are most appealing, particularly when the world outside is anything but. Leaning into this evocative music that captivates our culture, Brill crafts a homecoming of sorts, guiding the audience along on a briskly-paced tour through their favorite playlist. All the trappings of this world’s aesthetic are present and thriving, all the beats landing just as we hope them to, all the conflicts resolving as neatly as we wish they would in real life. It’s fun. It’s ridiculous. It’s ABBA. Brill has clearly facilitated a process that prioritizes play and revelry, much to the benefit of this musical’s reliance on levity.
Choreography from Shanna VanDerwerker supports and magnifies Brill’s energetic sense of play. VanDerwerker’s interplay between sharp, angular bursts of energy and smooth, sleek transitionary movement is not only a characteristic trademark of her style: it is an artful extension of the music, inviting audience attention and rewarding that focus with palpable bites of memorable moments in motion. Such nuanced and demanding choreography is in the hands (and feet) of a uniquely capable ensemble, including standout cast member
Oliver Schilling, (playing the role of ladies' man Pepper) who embodies VanDerweker’s vision with peerless skill and finesse. Supported by the boisterous commitment of this show’s ensemble, VanDerwerker and Brill give youthful, irrepressible life to the music played at every high school prom since 1974.
As music director, Linda Madonia is faced with the lofty task of carrying the heart and soul of this musical. Together with her band, Madonia finds the groove to the elation of many happy feet on and off stage. Madonia takes additional unique liberties in shaping the tone of these ABBA classics, with a notably more hardcore sound in the electric guitar and a particular “oomph” in the drums. However, obstacles in adjusting to the new space include mixing and balance. An emphasis on percussion allows for easy-to-follow rhythmic clarity while grooving, but occasionally dialogue and other instruments get lost or dropped within the mix. This is sure to be a slight hiccup quickly rectified as Music Theater Works makes a home of the North Shore Center for Performing Arts and its proper orchestra pit.
Scenic designer Kristen Martino realizes a gorgeously understated vision for an island hotel getaway, simple yet expansive in scale, subtle yet detailed. The set perfectly accommodates the needs of the narrative and the direction. Augmented by lighting designer Andrew H. Meyers, the world feels as “destination wedding” as one could hope. Meyers’ design is colorful and deep, using a rich pallet of oranges and purples to envelop the audience in an eternal island sunset. Costume design by Rueben D. Echoles balances the leisurely getaway feel with the carefully tailored excess of shining disco jumpsuits.
The cast of this show tackles the exuberance of Mamma Mia! with abundant abandon. Alexis Armstrong rises to the dancefloor as Donna Sheridan. Tender and curious, one cannot help but root for Armstrong’s Donna. Heather Banks is sweet and pensive as this production’s Sophie, with beautifully clear vocal timbre. Veronica Garza steals the show as the hilarious Rosie; her spunk and spontaneity make her a breath of fresh air with every step onstage. Ahmad Simmons bursts with charisma as Sky, and his sense of humor amplifies his magnetic charm.
While times may be confusing, old tunes can ground us in the familiar. A dance party megamix is prescription-strength joy for an aching heart. Despite the shallow depth of the material, Music Theater Works’ Mamma Mia! sticks a giddy landing as our industry slowly breathes back to life.
Mamma Mia! runs through August 29th at the North Shore Center for the Performing Arts, 9501 Skokie Blvd. More information and tickets may be found here.
Photo by Brett Beiner.